Vol. 19, No. 37

Aug. 10, 2000

Summer intern creates interactive art programs

This summer, at the University Gallery, youngsters are learning that art is more than something you simply view. They are creating their own works of art based on the content and techniques featured in the gallery's current exhibit: "Hear What I'm Seeing: Selected Works from the Art Collection of Donald Byrd." According to Belena Chapp, director of museums, three educational programs in the "Walk and Talk Art Workshops" series are planned for children ages 6-12 to complement the exhibition and increase appreciation of these important artworks. Allyson Morse, a senior art history major from West Chester, Pa., has played a major role in the design and implementation of these interactive, interpretive activities. "We have been conducting interpretive programs at the University Gallery for more than five years," Chapp said. "All are attempts to share our exhibitions with a wider audience by offering programs, presentations and workshops--that complement our exhibits--and that will attract both children and families to our gallery." The first of this summer's workshops was Aug. 2 with "Faces of Africa: A Mask Making Day for Kids," which included a guided tour of the exhibition by Morse focusing on paintings by African Americans that clearly demonstrate an African influence. This was followed by a talk on traditional African masks, using examples of authentic masks from the University Gallery collection. The last and most active part of the workshop gave children a chance to make their own masks inspired by what they saw and learned. This and the other two workshops, Chapp said, were suggested and developed by Morse, as part of an internship coordinated through the University's Center for American Material Cultural Studies, under the sponsorship of the Unidel Foundation. Morse explained that, as a curatorial apprentice in the University Gallery during the last year, she had an understanding of the museum's mission and an awareness of its goals, organization and personnel. After meetings with Chapp, Morse was charged with developing the summer workshop series. She suggested a half-dozen ideas and–based on such factors as time allowed, materials available and appropriate themes related to the exhibition–she and Chapp selected three: mask making, quilt making and art assemblage. It was Morse who then developed the content. "This has been a very practical experience for Allyson," Chapp said. "We meet frequently and I provide general direction, and she has performed beautifully. We narrowed down her suggestions based on our situation and resources and she developed these programs." In addition to planning, Morse is involved in public presentations related to the exhibition and also conducts the hands-on workshops, giving her practical experience that extends beyond basic research and academic knowledge. Talking to her student-age audience in the University Gallery, Morse pointed out specific details in each painting, suggesting artistic features that the students might later incorporate into their masks. "Notice how the artist presents the eyes and the exaggerated limbs," Morse said, referring to Faith Ringgold's "Grovin' High!" and, standing before an oil on canvas by Lois Mailon Jones, Morse added, "This work combines influences from several countries where the artist traveled. Notice how the figures look wooden and stiff." At the next stop, picking up several masks from the gallery's collection, Morse discussed each object's design, characteristics, purpose and use–from fertility rites to religious ceremonies. Afterwards, using tables covered with blank paper shaped as masks, the students applied feathers, glitter and pipe cleaners to design their own mask creations. At the end of the workshop, satisfied students talked about their artwork and the impressions and moods they were trying to convey. "The objective of this workshop," Morse said, "is to have the students leave with a better appreciation of African-American works of art and to understand how artists are influenced by their backgrounds. This type of artwork is something they don't see every day, unless they happen to go to a museum that specializes in African or African-American art. The mask making at the end of the workshop allows them to incorporate what they learned into a product they can take with them." "Allyson is learning that the museum field of the 21st century demands professionals who are multitalented and who can perform multiple tasks simultaneously," Chapp said. "She also is perfecting her organizational, web research and public presentation skills." In addition, Chapp explained, the entire creative process–from workshop development, to publicity, to implementation and critical review–is a process and product that Morse will take with her and use in other academic and professional settings. A workshop on "Recycled Art Works: The Magical Junk World of Tyree Guyton" will be offered from 1-2 p.m., Wednesday, Aug. 16, giving children a chance to learn about the work of the Detroit artist famous for the street art installation known as "The Heidelberg Project." A video of Guyton's project will be presented showing how he transformed the streets of a Detroit neighborhood into a living work of art using "found junk." For years, Guyton has seen how discarded objects can be used to tell a personal story. Children will assemble their own self-portrait from recycled junk materials. Pre-registration for this free children's workshop is required. Seating is limited so early registration is encouraged. Similar family programs are being developed for this fall at the University Gallery in conjunction with a concert by Donald Byrd planned from 7-8:30 p.m., Friday, Sept. 22. All museum events are free to the public unless otherwise noted. For more information, call 831-8242. Visit the University Gallery online at [http://www. museums.udel.edu]. –Ed Okonowicz